Похожие видео

Antonio Vivaldi - Four Seasons
Budapest Strings
Bela Banfalvi, Conductor
You can get the exact album I have here on Amazon: http://amzn.to/1I2dNNu (affiliate).
Here are the times for the specific movements:
Spring 0:00
Summer 10:31
Autumn 20:59
Winter 32:48
I hope you love this recording! It is my favorite one I've heard yet. Happy Listening!
AnAmericanComposer

Full version of Wellington's Victory from the 1969 recording performed by the Berlin Philharmonic Orchestra conducted by the late Herbert Von Karajan. Although there are many other fine performances by other orchestras, this one is my personal favorite.
I also have this on vinyl LP and will be making a video to upload in the future.

London Philharmonic Orchestra, Bernard Haitink conductor
For information and analysis of this work visit http://muswrite.blogspot.com/2013/04/liszt-hunnenschlacht-battle-of-huns.html
For information and analyses of other works visit Musical Musings at: http://muswrite.blogspot.com/

Happy 200th Birthday to Franz Liszt!
Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.
Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time.
Les préludes.
Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular.
Conductor: Michel Plasson
Orchestra: Dresdner Philharmonie

London Philharmonic Orchestra - Bernard Haitink, conductor
For information and analysis of this work, visit: http://muswrite.blogspot.com/2012/08/franz-liszt-prometheus.html
For information and analysis of other works, visit Musical Musings at : http://muswrite.blogspot.com/

Franz Liszt composed his Prometheus in 1850, numbering it No. 5 in his cycle of symphonic poems when he revised it in 1855. The work is based on the Greek myth, Prometheus.
In 1850, Franz Liszt composed an overture and eight choruses with orchestra accompaniment for Johann Gottfried Herder's Der entfesselte Prometheus (Prometheus Unbound), a mythological work of thirteen scenes meant as a sequel to Aeschylus's Prometheus Bound. This was to be performed for the Herder Festival scheduled for August of that year in Weimar. Liszt gave indications for the orchestration, and from these notes Liszt's helper Joachim Raff produced a score which was used in the first performance. This concert commemorated the unveiling of a monument to Herder on August 24, 1850. In 1855 Liszt revised both the overture and the choruses, which resulted in the expansion of the overture to a symphonic poem and the choruses to a concert stage work.
The work that was composed to illustrate the imprisonment, pain, hope, and the final triumph of Prometheus turned out to be incomprehensible to the contemporary public due to the many dissonances that accompany the piece. The choral parts ended too soon and were unusable, while the overture acquired own life thanks to the multiple intentional executions and direction from Hans von Bülow.
Conductor: Bernard Haitink & London Philharmonic

A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman took 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural brilliance of this piece is nearly unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of academic, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below). Michael Saffle, Alan Walker, and others contend that the first motive appears at the very start of the piece until bar 8, the second occurs from bar 9 until 12 and the third from measures 13 to 17. The fourth and fifth motives appear later in the piece at measures 105-108 and 327-338 respectively.
Broadly speaking, the sonata has four movements although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.

Happy 200th Birthday to Franz Liszt!
Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.
Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time.
Tasso, Lamento e Trionfo.
Franz Liszt composed his Tasso, Lamento e trionfo (Tasso, Lament and Triumph) in 1849, revising it in 1850-51 and again in 1854. It is numbered No. 2 in his cycle of 13 symphonic poems written during his Weimar period.
Liszt's first sketch for this work is dated August 1, 1849. He had heard the principal theme for Tasso in Venice, Italy several years earlier, however, using it in the 1840 version of his piano piece "Chant do Goldolier" in Venezia e Napoli. Liszt completed the 1849 verion of Tasso as an overture in two sections, giving it to August Conradi to orchestrate. This version was performed in Weimar, Germany on the centennial of Johann Wolfgang von Goethe's birth as an overture to his drama Torquato Tasso. Liszt later corrected Conradi's score and had Joachim Raff produce a new score in 1850--51. Liszt then revised this score extensively, adding a central section. This version was performed on April 19, 1854 in Weimar, conducted by Liszt.
Conductor: Michel Plasson
Orchestra: Dresdner Philharmonie

this piece was originally composed solely for the piano by C.M. von Weber (Polonaise Brillante "L'Hilarite" op. 72), later arranged for piano and orchestra by Liszt (S367). performed by the german orchestra Gewandhausorchester Leipzig conducted by Masur, and Michel Beroff (piano)